Brush painting techniques - Oils or acrylics | Martin Jaramillo | Skillshare

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Brush painting techniques - Oils or acrylics

teacher avatar Martin Jaramillo, Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 4m)
    • 1. Introduction

    • 2. Materials

    • 3. Types of brushes

    • 4. Characteristics of a brushstroke

    • 5. The surface condition

    • 6. Main brushstrokes

    • 7. Other brushstrokes

    • 8. Different brush same technique

    • 9. Project

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About This Class


Brushes are the painter's tool par excellence, and learning to use them and understand what we can achieve with them is a fundamental part of the learning process. In this class, I want to show you the main brush techniques you can use; because there are so many ways to apply paint on a surface using a brush, and the way we choose will have a huge impact on defining our own style and the mood of our pieces.

Throughout the following lessons, I will show you the main types of brushes that exist, along with their advantages and disadvantages. Then, we’ll see the characteristics that define a brushstroke, as well as the factors that can affect the process of painting and depend on the surface material. We’ll see one by one the 18 most common brush strokes, while defining the characteristics of each one, their main uses and the best brushes to create them. Later, we’ll explore how using a different brush can affect the same type of stroke; and finally, we’ll apply this information in a simple but practical project. 


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Martin Jaramillo



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1. Introduction: Brushes are the painters tool per excellence and learning to use them, understand what we can achieve with them is a fundamental part of the learning process. My name is marking, I'm I going be an artist on in this class. I will do show you the main burst techniques that you can use. Because there are so many ways to apply paint on a surface, center brush, and the way we choose will have a huge impact on defining our own style and the mood of RBCs. Throughout the following lessons, I will show you the main types of brushes that exist along with their advantages and disadvantages. Then we will see the characteristics that define our brush stroke, as well as the factors that can affect the process of binding and the band on the surface material will see one by one the 18 most common brushstrokes, while defining the characteristics of each run, their menus is and the best brushes to create them. Later, we'll explore how using a different brush can affect the same type of stroke. And finally, we'll apply this information in a simple but brightly-colored project. So I hope that you will join me in this class and I'm looking forward to seeing your projects. 2. Materials: For this class we need Canvas. We would paper over Earth's surface you want to work on for bright thesis or quick demos like this. I usually use cardboard. I think Bain like oils or heavy acrylics and mixing palette or a Daesh, different brushes, linseed oil, the iron solvent like turpentine and gets you are using oils. And then finally using paper, pencil eraser and some paper towels. 3. Types of brushes: Versus commoner variety of styles. Eventually, you will determine your own favorite brushes to use and stick to them. Until then, you'll probably want to experiment with a few different types and sizes. A small round brush is assigned to paint a small precise details. Liner rigger brushes are thin brushes with very long bristles that are used to create fine details. And the length of the resource is used to hold a large amount of paint, and therefore allows the creation of long lines with one brush stroke, a-flat with Square Dance. One of the most versatile and important versus when precision is needed or when working on small details. It is excellent for structures and other objects with clear sharp edges suitable for painting tree trunks, leaves, by using the corner of the brush, maintains rocks. And in general, for landscape paintings. The filbert brush has an oval shape, which combines the characteristics of both flood are round brushes. A fielder brain brush is extremely versatile and fits almost any painting style. A fine brush doesn't hold too much paint, but it can be used for painting grass, hair, for removing brushstrokes and fill in large areas for gentler smoothing of brushstrokes, a synthetic brush can be used. While synthetic brushes are most cost effective, keep in mind that you get what you pay for. Cheaper synthetic brushes one, offer the same quality performance and they will often deteriorate faster than higher-quality synthetics. As a pro, we have that they're gray for both water-based paints and oil-based paints, they come at a much better price point that natural hair brushes and also the offer do regularity and longevity, provided that they are properly washed and dried between use. For the icons, we have that synthetic brush tips will not split our flag, which means you may have to apply more coats of paint to your model. Synthetic filaments are not ideal for oil-based paints. While the cheap, low quality synthetic brushes download a candle to their natural counterparts, there are tones of affordable, well-made nylon and polyester brushes that are totally worth adding to your toolkit. Like synthetics that are also different levels of quality in natural brushes. Investing in top quality brushes that will last a lifetime is a wise decision for any artists. Us up bro, we have that they tend to observe on a carry more paint. And they are usually was suited to oil-based paints. They can be Steve, are flexible depending on the animals hair, hogs hair is a common fiber used for stuff brushes. While Kolinsky sable hair brushes are valued for their softness and durability. For the cones we have that they tend to shed more advanced synthetic brushes and also natural filaments typically split or developed flux over time, which is not ideal for a painting. Small details. 4. Characteristics of a brushstroke: There are some characteristics that define a brushstroke. You will notice that there are always two sides of each type. What is fake cannot be smooth, what is delegate cannot be simplified and so on. The first one is the thickness of the pain. That can be their thick that is built up of a significant amount of paint on the surface of our body. And to do this, you need to fully load your brush with undiluted paint. And also it can be as smooth that utilizes thin paint and blended brushwork. This one is useful for painting background diarrheas and photorealistic images. The second one is the level of detail which can be dedicated or simplified. For delegate, we mean highly rendered brushwork and simplify means generalize brushwork, which ignores most of the detail. Then we have the length of the stroke, long wavelength strokes, which are useful for painting the samplings, water skies, and also that are short, choppy strokes which can signify heightened activity. The coverage of the pain can be broken with varied colors and brushstrokes useful for creating the illusion of nature. With a broken strokes, you should be able to depict each stroke individually and sometimes even see the base color. And a solid stroke uses blocks of color with little variance, highly recommended for dominant objects, which the mind that tension. And finally, we have the shape of the stroke that can be linear or some organic free-flowing brushwork. This characteristic applied to the stroke that we can actually see because there are some brush strokes that are meant to be invisible. So they don't really have any shape. By playing with these characteristics, we can create completely different results and exploring them is a very important step in the path to find your own style. For example, you're going to use brush strokes are thick, simplify, short, broke and inorganic, and see what you can get. In the project section, we'll explore a few combinations by painting the same subject with different brush strokes. 5. The surface condition: There are two factors that depend on the surface on which we are working that may have an impact on the painting process itself, particularly when we do it with a brush. The first one is the absorption capacity. Us or phrase, that absorbs too much pain can limit the ability of our stroke. The more porous and materialise, the more paint you will observe. And this also means that will waste more materials. Also, this type of surfaces, the paint dry much faster, which can be an advantage or disadvantage depending on the technique you are using. On the other hand, when using a low absorption capacity, it also means that it painted the years less to eat and it is easier to lift it, which can be positive when using a technique such as this graffito. This surfaces tend to be smooth there, allowing the brain to mix and spread more easily on them. Now let's see how various materials behave. These ones are organized from least absorbent to the most subservient. For each surveys, I'm going to load the brush with a similar amount of paint. The more absorbent material, the shorter the line you can achieve on each stroke. Here we can see how the prime canvas allows me to have more freedom of movement, since I don't have to constantly liver load the brush. In the case of watercolor paper, it is designed specifically to retain a large amount of liquid. So as soon as the brush touches the surface, it absorbs a large amount of paint. And the same happens with the Royal Canvas. This is why priming the surface is so important. Personally, I really like working on soft curve art as it is a fairly comfortable intermediate point. Although of course, I only use it for practices or demos like this. Now, let's see how each material response when trying to lift the paint, the unprimed canvas cleans out quite easily. And I assure you that if I rub a few more times, that would be completely gone. On the other hand, soft cardboard absorbs enough pigment that it is very difficult to remove the color and the watercolor paper, and they're all Canvas, do not allow you to lift any paint unless you use a solvent. Keep in mind data throughout this class, I will be working on self cardboard. The second factor to consider is linked to the previous one and is the roughness of the surface. The important of these lies in the type of texture that we can obtain with mentee, with layers of paint and using techniques such as the dry brush. Personally, I don't like the canvas texture, so I tend to avoid it by applying a three or 400 years of acrylic gel. The thicker the texture on which we work, the more difficult they will be to create very delicate and small details regarding toward a greater texture on the surface can make a work look much more interesting. The same material can have very different textures depending on the brand. So if you're a big fan of textures, I recommend you to take a loop, two different brands before vine. 6. Main brushstrokes: There are different types of brushstrokes that we can apply using Euler Acrylic. The main brushstrokes are the most use to build an entire paintings where he has the other strokes are very useful for smaller areas or specific objects. A flat wash is simplified, long, solid, and invisible. A flood wash produces as move even layer of color that is usually used as a base layer. When laying a flat wash, it helps to dilute the paint with some water turbine dying or linseed oil depending on the material you are working with. This makes the paint flow with smoother and give some more even coverage. To grade a nice mouthwash, use a soft bristle brushes on work each stroke in one direction only. For neon code, use a wide flat brush is slightly overlapping each successive stroke. You can use a clean brush to soften the marks and get a better result. I glazes is moved solely an invisible. This technique is used to build see-through translucent layers that can mix optically with underlying colors. It is most effective with pains that are transparent rather than opaque. Titanium white, for example, is not great for glazing, as it is very opaque. If you want to know the nature of a paint, you can check the information on the side of the tube or the manufacturers web. Depending on how many glazes are used, the time it takes to create an old painting using this method could be anywhere from a few weeks to even years since unit to wait for each layer to dry before painting the next layer. When there are multiple layers of glazes, the colors of the color blend as if they were all combined without the pigments actually mixing. This creates interesting defects which are very effective for portraits are sunsets. We can find beautiful glazes in the work of Renaissance artists, especially in the skin and clothes, are here in degradation of the sunset by Caspar David Friedrich. For our self glaze, avoid using hogs bristle brush, or a very small brush. This is similar to the flood wash, but in this case, we need to load our paint a lot more to create. That's our solution code. When diluting the paint is best to use a mixture of linseed oil with the solvents such as serpentine. If you use only oil, you run the risk of ending up with a sticky resolve that would take much longer to dry. And that will also stand out from the other parts of the work since alert linseed oil might even look as a thin layer of varnish. On the contrary, if you use a lot of solvent, the final texture may crack or look uneven. Are you good? Even reactivate it early if D are ready dry layers of paint. Try different degrees of the solution until you get the desired shape. As you can see, that the red I use his translucent in nature. So even if you add very little demolition, you can always see the previous layer or a yes. In the case of white, the color covers a large part of the black line. And like titanium white and zinc white is translucent in nature, and therefore, it is much more effective when creating a nice soft glazes. A dry brush is smooth, simplified, and broken. Dry brushing is a technique used by artists to make the pain luke feathery or dry. Any brush can be used for this technique. See how some Archie's to use a dry brush effect to convey some of the textures found in nature, such as rocks, grass with their water, sea foam, and a lot more. When you do a dry brush stroke, use a clean brush with no water or medium or neat low, just the tip with a little bit of paint. If you load too much paint, wipe off some of it with a paper towel, then lightly apply the paint on the canvas using little pressure. This strokes often look like a marker that is running not I think it looks translucent and you can see the texture of the canvas or the color underneath. This means that the texture of the surface that determines the texture of the dry brush strokes. So you can get more of these brushstroke when working on a rough surface rather than a smooth one. This technique allows the bacteria to suggest details and texture with minimal brushwork. Don't blame their labor. These strokes. Just use them confidently and boldly and leave them alone. Or you'll lose the effect. As the paint is depleted from the brush, strokes become faint here. This produces rough, lovely graduations of tone and color. She's simplified, medium to long, unbroken. Other Shiza medial landline that is usually applied carelessly forming clumps of strokes, but allowing part of the undercoat to show through. Each dash should stand by itself as an individual mark. Instead of blending with the background, it became truly popular with the impressionist is in the nineteenth-century. Due to the expressiveness and dynamism It brings to the piece. For our dash, load your brush with thick or thin paint as you refer and trace a medium to long stroke, three or four inches maximum. Lines can be well-organized, are a bit chaotic. The important thing is that we shall we see a bit of the base code and nature brushstroke must remain visible. You can also vary the length of the marks within the same area, but without letting them be too short or they will become dabs. When using two or more colors, we must be careful that they don't mix. Especially if we are using the wet-on-wet technique. For these, make sure to load your brush with enough pain that when applying the top layers and to clean it constantly in order to avoid unwanted mixes. Adobe's simplified, short, and broken. Much like the name suggests, is dubbing mixer technique used to add accents of color onto the surface of a canvas. W0 gnats movement to your painting and is often used to illustrate brushes or greenery. By the impressionist, took the stroke to the next level and use it to paint all kinds of things. Simply apply the paint with short movements and light pressure. This type of stroke is very short, but Nora short as a point. And it is also meant to show some of the paint underneath. Similar to when we use a dash. But just a little shorter. Is steeples are simplified and broken. Stippling is the burst technique that uses random small dots are scattered brush marks to create colors, stones, and textures. Sometimes this technique is separated from POM to Jason, and other times it is taken as part of it. It appear for the first time in the 19th century in France. Within the post information is current. And even today, there are a lot of artists who create their words using only these technique. You can paint each tiny dot of color in a controlled way with a small brush, or you can use a flood bigger brush and let the bristles make all the dots for you. For making separate dots with a small brush. Hold the burst perpendicular to the surface and make each dot evenly spaced without bracing to heart. You can use more than one color to create the effect of an optical mix in which the colors are applied separately. But when observed from the distance, they seem to, to create a new color. When stippling with a stiff brush, each of the hairs leaves a tiny dog of color. Using a brush with softer heritage stipple will produce a slide. The buret more irregular effect. Edges have a solid coverage. And there's, you know, Beatty are the places where two shapes our congressmen. Their expressive places that can reveal what the artist wants to emphasize and the base at which they want the viewer to examine the work. In a bank, it's always important to decide which Arias who have soft edges and which ones will have hard edges. For example, when painting a landscape, things in the distance will generally have edges. While the closer they are to the foreground, the more definition they will have, and the harder the ages will be. Flat brushes are great to create a crisp edge. Just load your brush with paint and then laid flat onto the canvas. A soft edge is made by slurring the paint together at the intersection of two colors. Round brushes are filled, birds are very for this task, a soft edge can be created in one pass by adding a light amount of paint onto the canvas and using legal pressure. It can also be created in multiple passes by adding a normal amount of paint in the first stroke. And then buzzing diverge multiple times over the same place, but using little pressure and without adding more paint. A gradient blending is simplified, solid, and invisible. The gradient helps your artwork acquire a real three-dimensional look. The transition from one color to the next is always a smooth, and the chord tones must undergone a subtle change in every stroke to gradually produce an overall change of color. Several centuries ago, when asked him Vera was the most popular medium, it was very difficult to create a smooth gradients because it dries very quickly. So when no painting was invented, artists began to create all kinds of gradients that goo half seem impossible some decades before. That is why, when looking at the works of da Vinci, Michelangelo van Eyck and other artists of the Renaissance. The coral transitions are always extremely soft and delicate. To create a gradient, mix the colors that you are going to use. For example, I want to go from red to a pale pink. So I will mix intermediate code, which is saturated pink stripes of each color together as a video shows, then softening the edges as much as you want to create a smooth result. You can also create a gradient directly without mixing danger mediates by working the two patches of paint onto each other. This works better for hues that are closer in the color wheel, like in this case. But if you are trying to get a gradient from blue to yellow, you'd better use the technique that I showed you first. If you use a soft dry brush, you might end up mixing all the colors and losing your gradient. So try not to use this method. It is less effective and better stick to the other two. As combo is simplified, broken, and organic is scumbling is the rough and uneven obligation of layer of thin paint over another color, producing a lively and unpredictable texture and color variety rather than a smooth even graduation. Scumbling produces are more casual blend. Dad can be used in skies or water to create a sub-goal sense of texture is complete, is different from dogs or dashes, because here we want the different coats of paint. Mix is combos are usually applied with our circle are sporadic motion of the brush. Bad defect can also be achieved with a strict dab source modules. Acrylics dry fast, that if you work quickly, you can scramble to colors into one another while they are still wet, you just need to work faster. Organic strokes are broken, and of course, organic. Semicircular brushstrokes are flowing lines are good for skies, water and other rounded organic forms. This technique was widely used by the impressionists, this and post impressionists. This not only as a small part of the painting, but as one of the main ways to give energy and movement to the artwork. The best example you can find these Vanguard seeds he relied on his technique to grade most of his paintings. The idea of this stroke is to flow with the element you are Basie. So try to follow the natural shape of your subject and make sure to let each stroke stand by itself instead of overworking the band and end with all the colors mixed for long strokes, thing down the paint and use a brush that holds a lot of paint to create uninterrupted lines. Hatches are short, broken, and linear. Determine hatching refers to the building up of tone and texture lines. Typical of pen and ink drawing. Hatching is a traditional method to create tonal shading. It can also be used as an exciting way to blend different colors lack a temporalities did hundreds of years ago. In hatching, the strokes of different colors are known as move that together. Make sure you paint over a dry surface. Otherwise you will end up with a mess. Uses more round brush or the side of a flap to draw parallel lines. You can build up a striking color relationships by intermixing different colors without blending. Crosshatching makes short, broken and leaner strokes. It simply means that strokes are overlapping, going in two different directions. Crosshatching next is a more common technique. The spacing between the lines can be varied depending on the effect you want. You can use crosshatching to model form, build-up areas of light and shade, or create lively color mixtures. As you can see, this is entonces. I really like a drawing technique. You can use seeds in a more painterly style to get some interesting results. 7. Other brushstrokes: Imbecile, flick, simplified, short, and organic. The word impasto refers to a build up of thick paint. These can be considered a main stroke or a complimentary stroke depending on the style you're using. Although it has become very popular these days, both in abstract and if you are painting. Apply the band we are stiff bristle brush or a palette knife to add extra marks onto a thick paint. For our rich mix color effect, try loading their brooch with two colors at once. Applying paint with hold its shape. So it's important to pay attention to the direction, width, and length of the marks you are making. To grading Boston, you can mix your oil paint with heavy bodied mediums such as liquid impasto. Or you can apply oil paint is straight out from the tube with no medium or thinner in order to take advantage of the thick, buttery texture that is characteristic of oil paint and heavy professional acrylics. Some painters practice a technique in which impasto is built up everywhere across the painting. Others for cuisine Postel on areas of greatest illumination and other focal points. Because an area of impasto is actually a relief in volume. The pain catches light along its hydrogens and cast shadows into the valleys of pain. So if you don't succeed in creating the shape of brushstrokes that you want. Use your palette knife to square the paint off and try again. This graffito can be considered smooth and broken. This graffito is the term used when you scratch away paint while it's still wet to expose the underpainting. It is especially useful when the victim scratches hair, grass, and so on. You can use any object to do the scratching such as the end of your brush, a palette knife, a credit card, a fork, or even a stylus. There are also numerous silicone rubber tools that are available to create interesting textures and designs. If you plan to use this technique with acrylics, have in mind that you need to be quick before the paint dries. To use this technique, you will need our previous code of fresh paint. The thicker the code, the more noticeable the marks will be. When lifting paint, you must take into account the degree of staining of the paint you use. Some pigments. Are there more easily to a surface? So if you tried to lift the paint, there will always be a color mark on the surface. You can check this information directly on the manufacturer's website. Or in many cases, it is also written on the side of the tubes. And also remember that some materials absorb more pigment. So if you are working on row Canvas, you won't be able to use properly this graffito technique. A tourist is stroke, is smooth delegate and this can be also consider a simplified. But it's mostly used as a delicate part of the painting. Long, broken and organic. This stroke is mainly used with a flat brush and filbert and is great for creating details such as leaves, grass or four. Since it allows you to paint more complex shapes in just one path. First, first, firm on the bristles, then twist the brush and stroke up to use just the side of the brush. The stroke starts out very thick and then gets thing. Try to use some more diluted paint to make a softer effect. When you double loaded brush, you're essentially adding two different colors to the brush without them mixing together. This is used to create texture and intersting gradients. You can use any kind of brushes to do these. First, dip one corner of the bristles in one color. Then did the other corner in the other color. When your brains a stroke, the two colors will naturally blend together and mix on the canvas, creating a previous side effect. This can be very useful when painting flowers and clouds. Having in mind that if you make many buses of our same place, the band will mix and the effect will be lost. Verse rolling can be considered a smooth dedicate, not broken nonlinear. Making a straight line with upper arch can be quite challenging because the bristles tend to wobble and it's difficult to control the flow of paint. Very straight lines are usually not necessary. Indeed, if you look up the work of the great masters, you will see that there are lines are not perfect and yet their pieces look amazing as a whole. But if you still want to make some straight lines, here is something you can make. First of all, thing down the paint and then use a ruler to guide your hand. When using the ruler you want to avoid to use it flood like when you are drawing a line with a pencil. Because the paint cans much hold a roller at a 45 degree angle to the surface and gently draw a soft brush across the ruler, keeping the ferrule of the brush against the edge to ensure a straight line. You can also use the roller as a binging to just apply paint to the edge of our ruler and bring the line to pressing the edge firmly on the surveys. Live the ruler off quickly to leave a thin line of color. This kind of line, though is straight, may present little gaps or small smudges. And finally, we have the dry bristle brush. This is not exactly a brushstroke, but something you can use to fix a stroke you didn't like. For example, if you feel that scenario of your painting is still flawed, passover a dry, clean brush using low pressure. If you want to add some texture to it, use a hard bristle brush. On the other hand, if you want to remove the texture from some part of your bees, do the same bad, in this case, use a synthetic soft bristle brush. This can help you to adjust the amount of impasto you use. Even in areas where you have laid the multiple layers of color. These are the most important brushstrokes used North about. Remember that for some of them, you can verify certain characteristics, like the amount of paint you use, the coverage and level of detail. 8. Different brush same technique: Some brushes are very different from each other and they can get very different results despite being used to apply the same stroke or technique. Now I'm going to show you some of the main differences that we can obtain with four types of brushes. When we paint, we can variety angle of the brush constantly saw that we obtain different results without having to change the brush. We can hold the brush perpendicular to the surface. And this way, the markings will be more precise and similar to the very tip of the brush. Also, the edges will be more marked and the pain will settle easily. The sharper the angle, the less precision will have given a sense of randomness. Using a flat brush creates squared edges. And if you use an old worn-out brush like this, the strokes will be very inaccurate when the brushes held perpendicular to the paper forming the notches you see on the screen. With a filbert. The result can be interesting as these are very versatile brush. Notice the half-moon shape that it leaves and they're rounded edges die creates. The lower the angle you hold the brush add, the less noticeable the shape would be. And they will resemble more to appoint or a steeple. With a fine brush, you can create different types of lines and spots covering a larger surveys bad without using too much paint. The second thing we'll see is the pressure change. If you apply different pressures on the same stroke, you will get variable gosh lines in one step. This can be applied to both artificial, natural, and abstract objects. The round brush is the ideal one to carry out this process. Sees the shape of the bristles, allows it to have a very wide range of variation. With a flat brush and a filbert, we can obtain a very similar results. And DKA we descend. These are not as good as the results that the round brush gifts. On the other hand, the fund brush is the one that gives the words resolves. Since it has very few bristles for its soil with an S, You can see there is almost no variation when the pressure is changed. If we turn the brush, things are different since we can already achieve that variation in the width of the brush strokes that we were looking for. However, continual use of the brush in this way might form its bristles saw you should use it like these regularly. Now, let's take a look at one of the brushstrokes that we had already discussed in previous lessons when applying dabs and staples know Barrage is better than the others. The round brush give surrounded organic finish while the flood brush creates a squared edges that can give a greater sense of rigidity. Also, when you paint up point without flood brush, it will look more like a small rectangle unless you use only the corner of the brush to create it. The filbert brush is like a mixture of the previous two. And of course, the thumb brush is the one that gives the most different finishes. So we harnessed the workspace of here was a bit small for the size of the brush, but on a larger surveys, you can get some pretty interesting results. Finally, we have hatching and crosshatching. Because these techniques are borrowed from drawing, is best to try to use thinner lines. Round brushes are great for this task. They allow you to agree delicate lines, but with a flat brush or filbert. It can also be done very well. When the work area is as small as in this case, it is best to use the brush on its side. Although it is also quite common to apply the beam in an uncomplicated and loose way by crosshatching the strokes. As you can see, the foam brush is imprecise and not easy to control. If what you want is to hatch crosshatch in the strict sense, a fan brush is probably a terrible decision. But if you want to create these lose natural looking lines, then it might be a good choice. Remember that learning to use different brushes can make you grow as an artist. Surely there are one or two that are your favorites, the role using most of the time. But sometimes it can be useful to explore other options. 9. Project: For the class project, I'll paint the symbol for a graph in forward different styles, altering the characteristic of the brush strokes that I use. Dao, the way you will see some of the opportunities that master brush strokes can give you. I'll be jelly you are within I do. So you can be the alongside with me to create your own piece and then upload a picture of E to the project section so everyone can see the colors that I'm going to use, our cadmium yellow, cerulean blue, and some magenta to mix the shadows. For the first painting, the characteristic of the brushstrokes that I will use will be smooth, delegate and solid. I start by mixing a very light blue that I will use for the background and apply. It's creating a flood wash going over each brushstroke several times in the same direction until the bain loose uniform and are not batches left. To these. I gently use our clean dry brush in order to remove imperfect. Next, I mix the color of the shadows with magenta and yellow for dilemma. And for the background, I use the three colors to create a project in shadow. The color was more of a brownish than I expected. So I simply add more blue and applied over the area creating a smooth edge. I also want to do a soft, they'll gradient in this area. So I clean the brush and work the area around the shadow in order to create a more delicate transition. Farther lemon, I start by applying a base coat of yellow all over the bill. For the whitebark of the interior, I used a double love technique, but the white line was too thin, so I had to add more. I will use another brush for the lighter colors and thus prevent them from mixing. This way, I can highlight the white parts of the interior with a clean brush. I add the shadows from both the bill and the inside of the lemon and use another brush to help me bluer than. Because remember that the idea of these bendy particular is that all the brushstrokes remain very soft and delicate. Now with a light yellow, I give the characteristic shape of the inside of Lemma, creating some details such as the membranes and the seeds. Then what remains is simply to enhance highlights and shadows and bullish some details like drawing the edge of the shale around the Earth. This is a more classic and realistic approach of thought executed quickly. Later we'll see what other styles can be achieved. In a general experienced, the bristles of synthetic brushes are smoother and softwares and natural ones. The softer the hair done less paint on our brush can hold and the smoother the stroke will be. Coarser hairs tend to make more textual strokes in which you can see a group of lines made by the bristles. This is evident when you are using thick paint or a dry brush technique. If you dilute our thing to paint, again, there will be less are not visible texture. Half in mind that there are many brands of poor quality synthetic brushes which live results in each brushstroke. To avoid these, it's very to go for our well-known brown and avoid products that are excessively cheap. For the second one, my brushstrokes will be smooth, short, organic, and broken. To prevent the colors from mixing excessively and to keep the luca broken, I'm going to be the base code with acrylic. And over these, I will work in oil and mix colors very similar to the ones I'm using and apply them. You could also use different colors and create contrast between the two layers to give it a different look, like using a bright green instead of yellow. I always use a different palette for our colleagues to avoid unexpected mixes or dirty in the colors. Once the acrylic dries and mix a shade of blue is slightly darker than the one that you already have. And apply the reading background in the form of gaps. For the shadow casts on the background. I use the same technique. See how I make a transition using all with this type of short movement and avoiding are more common stroke like the want to use for the gradient in the previous painting. It is important that no REI is overworked or the background will be fully covered. Keep in mind that when looking at it closely, each brushstroke should stand by itself. Now I move to a lemma. Since the area here is much smaller, I'm going to use a smaller brush. I continue to use dots. So I got perfect lines are not created and the edges always seem somewhat chaotic. This way, I add both the medium color and the shapes of the beam. And the fifth. While this may seem all views, selecting the right tools can greatly affect the quality of your painting. No matter if you are working with oils or acrylics, you'll want to access to a variety of brushes, from small to large to use with our AI techniques for applying thick layers of paint. Make sure to have a stiff bristle brush. And for the watery color effects like washing, use a soft bristle brush. I feel that paintbrush makes other bendable, versatile option that offers a straight or Raul shape depending on your needs. So it's always good to have at least one of them. Until now. I have diluted paint without any busting, with the intention of being able to use the dry brush technique. I load the hogs bristle brush with white paint, remove the axes on a piece of paper, then applied the pain to the inside of the lemon in order to follow with the carefree trend that the rest of the fee your house. Finally, I add some details on Highlight without falling into perfectionism. In the end, like everything else seen Bayesian techniques, it is best to practice and see with your own eyes how our gesture is capable of creating shapes directly. It is our character and our energy that create our own way of painting. Our brushstrokes define our style. For the third painting, the brushstrokes will be characterized by being organic, knock, simplified them broken. Maya, The FOR this painting is quite simple. I'll just use organic burst strokes everywhere without adding practically no detail. So it was the fastest of the four paintings. This time, the background will have more contrast. So I add brushstrokes of three blues with very different values, or revolving around the lemon to increase the focus on the object. For the lemon, I use the same type of concentric movement, adding highlights and shadows with long flowing brush strokes. On this occasion, instead of painting the membranes inside the lemon, I divided the sectors without using Procreate the color lines. And instead, and you only trace them, which is slightly shorter brushstrokes, but following the same circular motion. Although it's not very well appreciated in the image. I use much less than alluded. Bank saw that it was left with sewing Boston, which I applied mostly in the highlight and final details. This particular exercise can be a great way to help you find your own style. For many Archie's, it is important that their works can be recognized amongst others. And this is achieved when you acquire your own style. Take for example, Jackson Pollock. His work may seem very simple. Bat, it broke even great fame with his dripping technique. Van Gogh's work, for example, is one of the ECS to recognizing the world. And it is largely due to his use of the brush. The way in which an artist applies his brushstrokes is the CSF. And that is why f thing that's exploring and knowing the brushstrokes that exist is indispensable. But beyond knowing them, you have to put them into practice. You can use this exercise to create a small studies are miniatures are far larger work so that you can identify with which brushstrokes you feel most comfortable or which ones favored the theme of your work. In this case, my peripheral favorite was Ziegel one. And although I don't usually painting done style, this exercise has made me want to use it more often and incorporated into some of my paintings. So I invite you all to try this exercise because I'm sure that you will learn a lot from doing it. Seems the brush stroke, it is like the painters calligraphy and is always challenging to try to change the way you write, or in this case, the way you paint. As the last detail, I use this graffito technique to mark the membranes and Cs by using the deep of the palette knife with a free-flowing motion. Since the idea is to make it look more like scratches, don't discard you are all bristle brushes which have lost more of their spring. They can be used for the dry brush technique. New brushes give very consistent results that sometimes the randomness of a worn-out brush can be a lot more attractive, especially when venting things like hair, grass, folly, amongst others. For the last painting, I will use thick, short, simplified, linear and broken brushstrokes. I start at the bottom applying the cross hatching technique with which I create is more lexis dot overlap the entire area, include them, the cast shadow scenes. I'm using a lot of paint on each stroke. I cleaned the inner edges of the lemon with paper to prevent the colors from mixing. For the anion side of the lemon, I use a short and vertical brushstroke, very similar to a dash. Bad plays in an orderly way and always oriented in the same direction. In this case, I'm doing the opposite side of that previous painting. Instead of tracing the brush strokes, following the shape of the object, here, I completely ignore its shape and trace them arbitrarily in one direction only. Well, once I have painted highlights and shadows of the rink under Pope, I break the beef. Instead of using vertical lines, I'm going to break the monotony by using staples, which I add with that round brush perpendicular to the surface. I will also use the same technique to other details of the membranes and seats. And even to play some extra shadows and highlights and putting a good amount of impasto at each point. I said I use linear or strokes by its sibling doesn't really count as either linear or organic. So I don't think there will was broken at all. If you're interested in creating an illusion of depth, avoid the impasto with a shadow areas. Impasto draws attention to the surveys. So I tried to use it tomorrow highlights because the idea is that the real volume iss in accordance with the off the cold volume. Some people use blasto everywhere, but it is best to use it just in the places where it belongs. Well, these are the results. As you can see, each Lemon is very different from the others. And if I wanted, I could make many other paintings with different styles. This is a very brightly colored and find exercise that you should try. You can use the same photograph that I use are league for the one that you prefer. If you are a beginner, I recommend that you start with something simple, like some fruit, because they have many interesting shapes and textures. But there are also easily to get right. Unlike a landscape or portrait. I hope you enjoyed this class on found these lessons useful. Thanks for watching and if you like to eat, please live good feedback and follow me for future updates.